Carillon 02 'was never vacant'
Lymesmith reimagines Canberra’s Brutalist buildings saturated in colour. This print features The National Carillon built in 1970. Each limited edition print on 310gsm genuine mould-made archival watercolour paper, numbered and signed by the artist.
Available sizes:
A0(N) 1188 mm H x 700 mm W (Edition of 5);
A1(N) 841 mm H x 496 mm W (Edition of 10);
A2(N) 594 mm H x 350 mm W, (Edition of 10);
We cannot guarantee the colour on your screen is identical to the physical print.
Lymesmith reimagines Canberra’s Brutalist buildings saturated in colour. This print features The National Carillon built in 1970. Each limited edition print on 310gsm genuine mould-made archival watercolour paper, numbered and signed by the artist.
Available sizes:
A0(N) 1188 mm H x 700 mm W (Edition of 5);
A1(N) 841 mm H x 496 mm W (Edition of 10);
A2(N) 594 mm H x 350 mm W, (Edition of 10);
We cannot guarantee the colour on your screen is identical to the physical print.
Lymesmith reimagines Canberra’s Brutalist buildings saturated in colour. This print features The National Carillon built in 1970. Each limited edition print on 310gsm genuine mould-made archival watercolour paper, numbered and signed by the artist.
Available sizes:
A0(N) 1188 mm H x 700 mm W (Edition of 5);
A1(N) 841 mm H x 496 mm W (Edition of 10);
A2(N) 594 mm H x 350 mm W, (Edition of 10);
We cannot guarantee the colour on your screen is identical to the physical print.
2022 Brutal Transformations Print Series: ‘hurry to where they still (bloom)’
This print is titled Carillon 02 “was never vacant…”
Inspiration for these works emerged after I listened to Ngambri elder Matilda House speak about her childhood memories of camping on the Molonglo River, fishing, catching turtle. Just over there, between the High Court and Anzac Parade, before the valley flooded, the old people lived and camped. I have reimagined the National Carillon as a Memorial to ‘Colour Lost from the Landscape’. With titles referencing the poem ‘Lead’ by Mary Oliver, these prints are a lament for the Temperate Grassland Habitat that once flourished here on the shores of the Molonglo River. Colours of this now critically endangered habitat are superimposed onto the National Carillon.
No raw concrete was harmed in the production of these artworks.
The Backstory
Lymesmith's assault on béton brut aims to stimulate debate around the treatment of Brutalist buildings now and into the future and ponders what kinds of transformations are possible for these concrete giants. Purchasing an archival print supports Lymesmith’s Brutal Transformations paste-up projects, to bring free, high-quality poster art to city streets. For further information on the paste up project, visit the hurry to where they still (bloom) Lymesmith project page.
The Even Finer Print
Our printer Lucent Imaging is a carbon neutral business, read more about their environmental policy here. Shipping by Australia Post.